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T:1 m O HARA SAN 

Edith M. Burrows Edward Johnston 



ARGUMENT 

O Kashi Kintara, a young student of noble lineage, falls in love with O Hara San, 
the only child of a Samurai, Kanaya. Finding that his love is returned, he seeks her 
hand in marriage. Reluctantly Kanaya consents to the marriage on condition that it 
take place in a }ear's time. O Kashi Kiatara leaves Japan to study in America, and 
remains away for almost a year. In the meantime. Prince Nashimoto Fushimi seeks 
O Hara San's hand, and Kanaya agrees to his suit if O Kashi Kintara does not return 
within the year's time. Just as O Hara San has made tearful preparations to marry 
the old Prince, her lover returns at the last moment, and all ends happily. 

CAST OF CHARACTERS .., 

O Hara San, "Miss Blossom" (Soprano) Daughter of a Samurai 

O Kashi Kintara (Tenor) Young Student and Lover of O Hara San 

Kanaya (Bass) Father of O Hara San 

O ToYA San (Mezzo-Soprano or Contralto) Mother of O Hara San 

Prince Nashimoto Fushimi (Baritone) Aged Suitor of O Hara San 

O ToKU San ( Mezzo-Soprano) Chief of the Maids in Kanaya's Household 

ToKiAKi ( Baritone ) A Go-Between 



Chorus: Maids. Student-Dentists. Courtiers, Geishas, Servants, etc. 

SCENE 

The action takes place in a Japanese garden of rare beauty. Cherry trees and 
wistaria vines loaded with blooms give the note of color to the scene. To the left 
of the stage is seen a portion of the exterior of a Japanese house ; on a window sill of 
the house, in full view of the audience, there should be in the first act, a potted plant. 

The first act takes place in the sunlight, and the second act is timed at dusk, 
which later deepens to dark. Lanterns, hung in various parts of the garden and 
lighted by maids at the opening of the act, serve to give light in this latter act. 

At the center back of the stage is an opening in the cherry trees and vines, 
which gives one a glimpse of mountains in the distance. 

To the right of stage is the exit, presumably leading to the roadway. 

When the curtain rises on the first act, it discloses the maids bustling about 
their various tasks, picking and arranging the flowers for the dav — a matter of 
much import in Japan. 



Copyright, 1918, by J. Fischer & Bro. British Copyright Secured. 



J. F. &B.4300 



COSTUMES J 

O Hara San • 

Act I. Gray kimono with pale i)ink obi, or sash. 

Act II. The white kimono of mourning worn by Japanese brides. 

O Kasiii Kintara 

Act I. Japanese costume of dull blue and gold. 

.\ct II. American clothes, preferably white flannels and yachting cap. 

Kanaya 

Act II ] Scarlet kimono with gold embroidery. 

O TovA San 

Very sober kimono of dark gray, with obi of black. If possible. 
Act I. I her teeth should be blackened and her eyebrows powdered so that 
Act If. I they do not show, as sh^ represents the old school of Japanese 

women. 

Prince Nashimoto Fushimi 
Act I. 



O ToKu San 
Act I 



TOKTAKI 

Act I. 



Act II ) ^'^^^y '"'^^ ^"^ gaudy costumes in both acts. 

San 

Act I ( 

Act li "i K^i"i<^"o of delicate lavender, with white obi, in both acts. 



Art TT I "^ simple kimono of dark blue for both acts. 



The Courtiers 

Should have rather rich costumes. Courtiers need be very few, if necessary. 

The Geishas 

Should be very gay in their apparel. 

The Maids 

Should wear kimonos that will look well with the costumes of O Hara San. 

The Dentists 

Dresses may be simple. 



T/^P92- 009066 



Note: — The libretto of "O Hara San," duly copyrighted, is the sole property of 
J. Fischer & Bro.. New York, and must not be reprinted or reproduced for any pur- 
pose whatever without their permission^ „ .q.p 

J.F.&B.4300 ii ©Ci,C 5088S 



Act I 

Scene — A Japanese Garden, zvhere the maids are busy picking and arranging flon'crs 

as they sing. 
1. Overture — Instrumental. 

2. BUSY LITTLE MAIDS x\RE WE 
Maids and Dentist-Students 
Maids— 

1. Busy little maids are we, 
Ever active, as you see ; 
Duties here and duties there, 
In the house, and ev'rywhere. 

Oh, we're busy, 
Yes, we're busy. 
But we're happy as we sing. 
Banish sadness. 
Welcome gladness, 
To our tasks a song we bring. 
(Maids stop to listen, then run toward right as men enter.) 

Dentist-Students- (^^^^^^ Dentist-Students right.) 

2. Student dentists gay and free, 
Working at our tasks are we ; 
Pulling nails from boards with care, 
That's how we ourselves prepare. 

Oh, we're busj'. 

Yes, we're busy. 
But we're happy as we sing. 

Banish sadness, 

Welcome gladness. 
To our tasks a song we bring. 

Maids and Students — 

Oh, we're busy, etc. 
O ToKU San — Good morning to yoti, students. 

A Student {to O Toku San) — 

We wish the same to you, 
Please, won't you tell a story ; 
While each our tasks we do? 
O ToKU San— Shall I tell you of the "Fisher Lad?" 

A Student — If you will, you'll make us glad. 

(Maids and students range themselves on opposite sides of stage; students left, 
^^^d' ^-'Oht.) \ THE FISHER BOY 

(A Japanese Legend) 
O ToKu San, Maids and Students 
O Toku San — 

1 . Once there was a Fisher Boy. 

Living by the sea. 
By the sea-god's daughter fair. 

Much beloved was he. 
So she carried him away 

To her own fair clime. 
And they lived forever gay, 

.\11 unminding time. 

Maids and Students (Joyously) — ' 

Ah, happy pair ! 



O Toku San- 



Ah, happy pair ! 

Soon he thought, that he would go 

Visits short to pay 
To his most forgotten friends, 

Home, so far away. 
Ere he went, the goddess fair, 

Casket to him gave. 
If he'd promise that unoped 

He'd it alwavs save. 



J. F. & B. 4300 



Maids and Students {Briskly) — 
And so he went, 
And so he went. 

O ToKU San — 

3. When he came out of the sea 

Friends from him were hid. 
Gone his home; so his despair 

Oped the casket hd. 
Scarcely had he raised it, when 

Soul from body passed. 
For the goddess in the box 

All their lives had massed. 

Maids and Students (Sadly) — 

Ah, cruel fate ! 



A Maid {Spoken) — 
A Student — 



Ah, cruel fate ! 

And that's the end of our story ; 
That's all we'll tell today. 



We thank you much, fair maidens, 

And we can no longer stay. 
{Exeunt Students right, exchanging deep Japanese bozvs with maids until off stage.) 
(Enter O Hara San from the house, and the maids, holding their arms above their 
heads, run lightly forward to her, bozving cereniomously.) 

O Hara San — 

My little maids, I greet ye, 
Now at your games go meet ye. 
O Toku San, a word apart. 
To tell you what is in my heart. 
(O Toku San and O Hara San occupy the center of stage during the following scene. 
The other maids ivithdraw to the right back part of stage, where sitting on their 
heels, Japanese fashion, they arrange themselves in a circle and flirting their fans 
demurely, appear engaged in lively gossip.) 
O Hara Sax {to O Toku San) — 

The song- that you were singing 
Is in my ears still ringing. 
Of love it was ; now tell me true. 
What of such love is known to you ? 



O Toku San — 



O Hara San — 



I heard its thrill. 
In a bird song sweet, 
I thought to ensnare it ; 
Its wings were too fleet. 

I saw its gleam 
In a rainbow fair. 
But vainly I grasped it ; 
It vanished in air. 

I caught its breath 
In a flower's bloom 
That I plucked ; it faded 
And lost its perfume. 

Oh yes, that love is in my heart, 
That now is pierced with Cupid's dart. 
And if you'll listen to my song, 
I'll tell the love for whom I long. 
(Maids rise and draw near to O Hara San.) 



J. F. & B. 4300 



4. THE LOVE TOKEN 
(A Japanese Custom.) 
O Hara San and Chorus of Maids 
O Hara San — 

1 . Last Monday a young man here did stray, 
A-sighing, a-loit'ring on his way. 

In my window I stood and watched him go, 

With glance turning backward and footsteps slow. 

Come near, 'tis a secret I tell to you ; 

'Twas Kashi Kintara — 'I love him true. 
Maids (Very softly) — 

Come near, 'tis a secret she tells to you ; 

'Twas Kashi- Kintara. she loves him true. 
O Hara San (pointing to flozver on windon- sill) — 

2. Next morning I found this flower so fair 
On my window sill blooming sweet and rare, 
Where he had placed it, a dear proof to be 
How tender, how deep is his love for me. 
Come near, 'tis a secret I tell to you ; 
'Twas Kashi Kintara — ^I love him true. 

Maids (Very softly) — 

Come near, 'tis a secret, etc. 
(Enter Go-Between from the road at right, and approaches Hara San and Toku 
San in center stage. The maids dispLiy lively interest in zvhat folloivs.) 



5. GOOD-MORROW 



Go-Between and Maids 
Go-Between — 



1. (iood-morrow, good-morrow. 
Ye little maidens fair, 

I chanced this way 
To pass today, 
A-taking of the air. 

Maids (To each other) — 

Good-morrow, good-morrow. 
He greets us maidens fair ; 
He chanced this way 
To pass today, 
A-taking of the air. 

Go-Between — 

2. Good-morrow, good-morrow, 
I'm a very useful man; 

I'm a go-between 

For weddings keen 

In the country of Japan. 

Maids (Excitedly) — 

He's a go-between 
For weddings keen 
In the country of Japan. 

Go-Between and Maids 

(To each other zuith excitement) — 

Good-morrow, good-morrow, etc. 
(Enter Kanaya pompously from house at left.) 

6. WHO IS THIS MAN? 

Kanaya, Go-Between, O Hara San and Maids 
Kanaya — 

Who is this man? 
Go-Between (Bozving Deeply) — 
I'll tell you, sir. 
My coming always makes a stir! 

J. F. & B. 4300 V 



Kanaya — 

Be quick ! 
Maids — 

Pray do! 
O Hara San — 

And tell us. tell us true. 

Go- Between — 

My master is an honorable man; 

No l>etter lives in all Japan. 

And for your daughter's hand he sues ; 

I beg that him you will well use. 

O Kashi Kintara is his name, 

And great are his learning and his fame. 

O Hara San (Eagerly) — 

Oh, Father, I pray you 

Kanaya (Angrily) — ; 

Hush, will you betray you? 
'Tis most immodest and ill-bred 
For a woman to love before she's wed. 
(To Go-Between) — 

But since my daughter's hand he's suing, 
Your master may come here a-wooing. 
(Exit Go-Bch^'cen, right, hozving repeatedly, and all on stage return his deep bows.) 
Kanaya ( To maids) — 

Now into the house, you maidens all, 
And to your tasks in room and hall. 
(Exeunt maids and Kanaya into house. Hara .San follozvs them sloivly. Maids 
sing as they go.) 

6a. BUSY LITTLE MAIDS 
Maids — 

Busy little maids are we, 
Ever active as you see ; 
Duties here and duties there, 
In the house and everjwhere. 

Oh, we're busy, 

Yes, we're busy, 
But we're happy as we sing, 

Banish sadness. 

Welcome gladness. 
To our tasks a song we bring. 

(During this song. Kashi Kintara enters slowly from the right. He 7valks through 
the garden to a place near Hara Son's wlndotv, touches the plant on the windorv 
sill, smiles, then sings plaintively :) 

7. PASSED BY 

O Kashi Kintara and Chorus of Men 
O Kashi Kintara — 

1. Beside your life is standing 
The little love that gives, 

With outstretched hand and pleading. 
List now, list now. 
Love lives. 

Chorus (Offstage) — 

With hand outstretched and pleading, 

List now, list now. 
Love lives. 
O Kashi Kintara — * 

2. But you pass l)y in silence. 
And all alone he weeps ; 
E'en yet is time to listen, 
Turn back, turn back, 

Love sleeps. 

J. F. & B. 4300 vi 



Chorus — 

E'en yet is time to listen, 
Turn back, turn back. 
Love sleeps. 

{During the last verse, Hara San appears at the door.) 

O Kashi Kintara — 

3. Ah, now 3-ou bring love flowers; 
Then bring not roses red. 
Bring lilies white and waxen. 
Sing low, sing low. 
Love's dead. 
Chorus {Very softly, like an echo) — 

Bring lilies white and waxen. 
Sing low, sing low. 

8. O! SING NOT OF A LOVE THAT'S DEAD 
Dnet 
O Hara San and O Kashi Kintara 
O Hara San — 

1 . Oh, sing not of a love that's dead, 
But sing of ours that lives — 
Our love so fresh, so bright, so fair 
That of itself e'er gives. 



Together — 

O Hara San — 

2 

Together — 



Our love so fresh, so bright, so fair, 
That of itself e'er gives. 

And sing not of a love that sighs. 
But sing of ours that's gay — 
Our love so pure, so sweet, so strong. 
That carries us awav. 



Our love so pure, so sweet, so strong. 
That carries us away. 

{During these last lines, Kanaya, O Toy a San, and maids have entered the garden from 
a different part of the house than where O Hara San made her appearance.) 

Kanaya {Spoken) — 

I'm very sorry to interrupt. 

But I fear it's necessary. 
My fine young man are you the one 

Who sent an emissary 
To ask my daughter's hand of me ? 
If so, it's you I wish to see. 

O Kashi Kintara (Bo7ving deeply) — 

That happy man am I. 
O ToKu San (Aside) — 

He's Hving in the sky. 
( O Hara San steps from doorway and joins her mother and maids.) 

Kanaya {To O Kashi Kintara) — 

Then I'm going to take you to task, 
And a few questions of you to ask. 
{They xvithdratv to one side in conversation. Enter from the right the Prince with 
several servants, also the Dentist-Students.) 

O Hara San (Seeing them) — 

What have we here? 
O ToKU San — 

It's very queer! {Girls laugh.) 

J. F. & B. 4300 vii 



9a. WHERE IS THE MASTER OF THIS HOUSI':? 

Kanaya, Prince, O Hara San and Chorus 

Prince (After much ceremonious boiviny to all on stage) — 

Where is the master of this house? 
With him I would have speech. 
He has, I'm told, a daughter fair, 
Whose hand I would beseech. 

O Hara San (Mirthfully) — 

My hand — ho, ho ! 
Maids (Laughing) — 

Her hand — ho, ho ! 

O Haka San (Slozvly and deliheralcly) — 

This is my answer: no, no, no! 
Chokl's (IJltli sf^irit) — 

This is her answer: no, no, no! 

Kanaya (Sternly) — 

Oh. say not so: your lover seeks 
America, he said, 
/\nd if beyond a year he's gone. 
The Prince you must then wed ! 

O Hara San (Horrified) — 

The Prince, no, no ! 
Maids (Pleading) — 

The Prince, no, no ! 
O Hara San (Firmly) — 

This is my answer, no, no, no! 

Chorus (JVitli spirit) — 

This is her answer, no, no, no! 

9b. HE'S GOING TO AMERICA 

Prince, O Hara San and Chorus 

Prince (Follozving O Hara San, -.Jio eludes him, as he sings) — 

1 . He's going to America, 
But you must stay behind. 
Across the sea, far, far from vou. 
He soon will solace find. 



Chorus- 
Prince- 



He's going to America, etc. 

He's going to America, 
Where women have the vote ; 
Soon on some fair American maid 
His heart will surelv dote. 



Chorus — 
O Hara San { Furiously) - 
Prince — 
O Hara San — 

Prince — 

I say it's true. 
O Hara S.\n (Nearly weeping) — 

Oh, I hate you ! 
T.F. &B.4300 viii 



He's going to America, etc. 
This is not true. 
Yes it is true. 
I will not believe it. 



: 10. NO, THO' ACROSS THE SEA 

O Kashi Kintara and Chorus 

O Kashi Kintara (To Hara San) — 
No, tho across the sea, 
Far, far away I'll be, 
Still will I think of thee, 
And thee alone. 
This is the song I'll sing, 
Tears to my eyes 'twill bring, 
Nor think of anything 
Save thee alone. 



Chorus — 



No, tho across the sea. 
Far, far away he'll be. 
Still will he think of thee. 
And thee alone. 



11. 



O Hara San and O Kashi Kintara 
O Hara San — 
1 



MY DEAR 
Duet 



The sky is a shade-less blue, 
The birds sing a note-less clear, 
And I look for your smile in vain, 
Because you are gone, my dear. 
The sun veils his face with clouds, 
On the branches hang many a tear. 
As I list for your voice in vain. 
Because you are gone, my dear. 

O Kashi Kintara — 

2. The spring brings its flowers rare, 
This fairest time of the year ; 
But I look for one blossom in vain, 
Your face — and it's gone, my dear. 
The sun veils his face with clouds, 
On the branches hang many a tear, 
As I'list for your voice in vain. 
Because you are gone, my dear. 



Together — 



The spring brings its flowers rare, etc. 



12. THERE'S A CLOUD IN THE SKY 



1'hincipals and Chorus 
O Hara San — 



There's a cloud in the sky. 
And a tear dims the eye ; 
There's a parting tomorrow, 
For you — for me. 
O Kashi Kintara — 

The day dawns so fair, 
There's a song in the air ; 
There's a meeting tomorrow. 
For you — for me. 



O ToKU San — 



Students- 



Once there was a fisher boy 

Living by the sea. 

By the sea-god's daughter fair, 

Much beloved was he. 

So she carried him away. 

To her own fair clime, 

And they lived forever gay. 

All unminding time. 

Ah. happy pair! 



F. &B.4300 



Go-Between — 



Maids and Students — 

Oh, we're busy, 
Yes, we're busy, 
But we're happ3- as we sing. 
Banish sadness. 
Welcome gladness, 
To our tasks a song we bring. 

Good-morrow, good-morrow. 
Ye little maidens fair, 
I chanced this way 
To pass today, 
A-taking of the air. 

Maids ( To each other) — 

Good-morrow, good-morrow, 
He greets us maidens fair; 
He chanced this way. 
To pass to-day, 
A-taking of the air. 

Go-Between — 

Good-morrow, good-morrow, 

I'm a very useful man. 

I'm a go-between 

For weddings keen 

In the country of Japan. 

Maids (Excitedly) — 

He's a go-between. 
For weddings keen. 
In the country of Japan. 

Chorus — 

Good-morrow, good-morrow, etc. 
Prince {To O Hara San) — 

He's going to America, 
But. you must stay behind. 
Across the sea, far, far from you. 
He soon will solace find. 



Chorus — 
Prince — 

Chorus — 



He's going to America, etc. 

He's going to America, 
Where women have the vote. 
Soon on some fair American maid, 
His heart will surely dote. 

He's going to America, etc. 

There's a cloud in the sky, 
And a tear dims the eye ; 
There's a parting tomorrow. 
For you, for me. 
The day dawns so fair. 
There's a song, in the air ; 
There's a meeting tomorrow. 
For you, for me. 

Curtain. 



J. F. & B. 4300 



Act II 

Scene — Chorus on stage. The same garden at dusk a year later, is hung with many 
gay latiterns, which the maids, aided by men servants and student-dentists, are 
lighting, zvhile O Hara San stands apart, gazing zvistfuJly away dozvn the road. 

13. A YEAR HAS PASSED AWAY 

Maids, Students and Men Servants — 

A year has passed away, 
And still her love doth stray 
Far off in stranger land. 
While suitors claim her hand. 

This day must she be wed, 
And the Prince, so 'tis said. 
Awaits his lovely bride, 
Who here may not abide. 

{Males exeunt L. & R.) 
Maids continue their work about the garden, preparing for the evening festivities, 
while O Hara San sings : 

14. LOVE'S QUEST 
O Hara San and Maids 

O Hara San (Sadly) — ' 

Sad are the days, the nights are long. 
When dear remembered moments throng 
Around me, mocking, as, they'd say : 
"One whom you love is far away." 

Maids — 

Around me, mocking, as they'd say: 
"One whom you love is far away." 
O Hara San (Hopefully) — ' 

No more sad days, no more nights long. 
For hope to me hath breathed a song. 
And this I know, though far you stray. 
My love to you will find a way. 
(She stretches forth her arms as the m-aids softly repeat last two lines.) 
Maids — 

And this I know, though far you stray. 
My love to )'.ou will find a way. 
{Enter from the house at left, Kanaya and O Toya San.) 

(Maid exeunt L) 
O Hara San (Bozving deeply) — 

Honorable parents, welcome are you, 
What is your will for me to do ? 

15. O HARA SAN. YOUR YEAR IS UP 

Kanaya, O Hara San and O Toya San 
Kanaya — 

O Hara San, your year is up ; 

Tonight you drink from bridal cup. 

And since your lover cometh not, 

You'll wed the Prince, who's on the spot! 
O Hara San (Agitated)— 

But to another I am plighted, 
Kanaya (Angrily) — 

A shameless love that's unrequited. 
O Hara San (Pleadingly) — 

Ah, no, his heart I've e'er delighted. 
Kanaya (Triumphantly) — 

Then why has he so long you slighted ? 

J. F. &B.4300 xi 



O Hara San (Kiiccliny before her mother) — 

Oh, august mother, now my heart will break; 
Beg thou my father not this step to take. 

O Toya San {Unmoved, stolidly si)igs) — 
A woman's duty in Japan 
Is true obedience unto man. 
From when her life is first begun. 
To father, husband, and then son. 

O Hara San {Rising, despairingly) — 

If so must he. I would rather die. 
Oh ye eternal gods, hearken to my cry! 
Kanaya {Sings lightly) — 

Oh, bid farewell to grief and tears ; 
Just banish all your foolish fears, 
For soon you'll be the Prince's bride, 
And live so happy by his side. 

{Exeunt Kanaya and O Toya San left.) 
O Hara San (Spoken) — 

Oh, land of flowers, my own fair land, 
Held in the vast sea's hollowed hand ; 
And you to whom so long I've prayed, 
I know not where to turn for aid. 

[She leans despondently against o)ie of the trees loaded with cherry blossoms, and the 
petals drop softly around her. ) 

Clad in my robes of bridal white, 
With sorrow I await the night. 
So fraught with fear and grief for me, 
Who now am wrapped in memory. 
{During the last lines the maids enter quiet' y from L. Students from R. O Hara 
San retires up stage, but not out of sight.) 

16. ALAS, POOR BLOSSOM 
Students and Maids 

Si IDKXTS— 

Alas, poor Blossom, 

That bloomed once so gay, 
And now is wilting, 
Fading fast away. 
Take heart, poor Blossom, 

All is not yet lost; 
Calm always comes to 

Seas long tempest-tossed. 
Maids and Students — 

Alas, poor Blossom, etc. 
A Maid — 

Oh surely if he knew her need 
Kintara to her side would speed. 
A Student — 

How vain and futile was our cheer, 
(Pointing to entrance right and left.) 

For look — the wedding guests are here ! 

(Enter Kanaya, O Toya San left, Prince Nashimoto Fushimi, courtiers, attendants, 
geishas, etc., right.) 

17. NOW LS THE WEDDING FEAST BEGUN 
Full Chorus — 

Now is the wadding feast begun 

With joy in the land of the Rising Sun. 

We wish you all good things of earth. 

And hope you'll always have gladness and mirth. 

J. F. & B. 4300 xii 



{Kanaya has looked about for O Hara San, and seeing her trying to hide behind the trees 
and vines, goes up to her and drags her forivard to the Prince. O Hara San 
shrinks back, anct covers her face with her free hand.) 
O Hara San {In horror) — 

Oh, they mock me ! 
Prince {Leering) — 

Does it shock thee ? 

18. BEAUTEOUS MAIDEN 



Prince and Chorus- 
Prince — 



Chorus — 
Prince — 



Chorus- 



Beauteous maiden, gaze on me. 
Off'ring now my heart to thee. 
Though I'm a great and noble man, 
Famed far and wide through all Japan 

Though he's a great and noble man, 
Famed far and wide through all Japan. 

Beauteous maiden, I love you ; 
Say you love me, tell me true ! 
For I'm a great and noble man. 
Famed far and wide through ali Japan. 



For he's a great and noble man. 
Famed far and wide through all Japan. 

(During this song and the next, he ambles grimacing and gesturing after O Hara 
San, zvho continually slips away from his vicinity.) > , 

19. I FEAR YOU'LL THINK ME THANKLESS 

O Hara San and Prince 
O Hara San — 

I fear you'll think me thankless, 

But I cannot truly say 

That I can ever love you. 

For my heart is far away. 
Prince {Pompously) — 

But when you see my presents 

And the geishas I have brought. 

You just can't help but love me. 

And the other will be naught. 
O Hara San — 

No, no. not I ! 
Prince (Clapping his hands so that servants 2vill present his gifts to Hara 
San. She looks at them, then gives them to the maids) — 

Well, I shall try. 
{To geishas) — 

Maidens, begin 
Her heart to win. 

( The geishas advance to center front of stage for their song and dance or drill.) 

20. GEISHA SONG 
O ToKU San and Geishas 

1. We're like the bees, 

From flow'r to flow'r. 
We sip the sweets 

Of each fair hour. 
We're never weary. 

Never sad, 
But always cheery, 

Always glad. 

J. F. & B. 4300 xiii 



Chorus — 

J We're | 

S -ru ' never weary. 

( They re \ 

Never sad. 

But always cheery. 

Always glad. 

(A dance max be effectively introduced at this point, and again also after the second 

verse. If that is not desired a fan dri'l may be substituted.) 

O ToKU San and Geishas — 

2. We come and go. 

We flirt the fan. 

We are the life 

Of old Japan. 



We're never weary, etc. 

The}'re never wear}-, etc. 
(The geishas zvithdraw to one side, and the Prince turns to O Hara San.) 



Chorus 

he geis 
O Hara San — 



Alack, alas ! I would that I 
Would never weary and ne'er sad : 
But somehow I have now forgot 
How to be cheery and be glad. 
Students and Matds (Softly singing) — 
Alas, poor Blossom. 
That bloomed once so gay. 
(Interrupted by — Enter Go-Between from the right in a breathless state of excitement 

and zvith many bows.) 
Go-Between (Spoken) — 

Honorable Sirs and Ladies, 
A message glad to you : 
My august master has returned. 
And has sent me on to do 
His bidding; but, ah, here 
He comes himself, my master dear. 
(Enter O Kashi Kintara from right, in American clothes. He crosses to center of stage, 
and takes his place beside O Hara San. pushing the Prince azvay, much to the 
tatter's disgust and O Hara San's joy.) 
O Kashi Kintara (Speaks jauntily) — 

Good evening, friends, and people all, 
I'm glad you waited for me ; 
For I met with a chapter of accidents, 
And for them I did deplore me. 

21. AS I WENT FOR MY BOAT 
O Kashi Kintara and Chorus 
O Kashi Kintara — 

1 . As I went for my boat 
Cross the ocean to float. 
The mean little ship, 
Just gave me the slip. 

And — left me loudly lamenting. 

Chorus (Nodding their heads in understanding) — 

The mean little ship 

Just gave him the slip. 

And — left him loudly lamenting ! 
O Kashi Kintara — 

2. So I just had to wait 

For the next sailing date ; 

Then from west to east. 

To my wedding feast, 

T dashed, so now I'm rejoicing. 

He dashed, so now he's rejoicing! 

J.F.&B.4300 xiv 



Chorus (Joyfully) — 

From west to east, 
To his wedding feast, 

(During this song and the follozving scene, the Prince tries vainly to attract attention 

to himself and his claims, more and more furious as he fails in his attempts.) 
O Kashi Kintara — 

American maidens I have met, 

But I left them all with ne'er a regret. 

Because I considered O Hara San 

The best little wife for any young man ! 

O ToKu San (Impulsively) — 

Oh she has been faithful, she has been true. 
She will be the best little wife for you ! 

22. O LITTLE SWEETHEART 
Duet 
O Hara San and O Kashi Kintara 

O Kashi Kintara — 

O little sweetheart, 

Fairest of the flowers, 

Bloom on for me through 

All life's future hours, 

O Hara San, O Hara San. 
O Hara San — 

Oh, noble lover, 

Soon my lord to be, 

Believe me, dear. 

My heart beats but for thee. 

Oh noble lover. 

Soon my lord to be, 

O Kashi Kintara, I love thee. 

Together (But O Hara San repealing her lines.) 
O Kashi Kintara — 

Ne'er let thy fragrance 

From my life depart; 

Unfold thy petals 

Ever on my heart, 

O Hara San, I love thee true. 

(The Prince finally succeeds in getting the center of the stage and the attention of the 
people, sings:) 

23. YOU DON'T COME IN 
O Hara San, Prince, O Kashi Kintara and Full Chorus 

Prince (Furiously) — 

This nonsense seems 
To me a sin, 
Please tell me where 
Do I come in? 



Chorus- 



You don't come in ; 
You just go out. 
And that is what 
It's all about! 

Take heart, dear Blossom, 
All is not yet lost. 
Calm always comes to 
Seas long tempest tossed. 



J. F. & B. 4300 



LIBRARY OF CONGRESS 

Prince and Chorus— fill! 11111111111' f^ 

. , ) I love ( ^^„. 016 102 974 9 

Beauteous maiden, j^^ loves ( ^ ' 



Say you love j S^ } ten ) h^^^ ! «'- ^ 
For I I 'V [a great and noble man, 
Famed far and wide through all Japan. 



Chorus- 



Prince- 



You don't come in ; 
Vou just go out. 
And that is what 
It's all about! 



I will come in, 
I won't go out. 



O Hara San — 

O, noble lover. 

Soon my lord to be, 

Believe me. dear, 

My heart beats but for thee. 

O Kashi Kintara. I love thee true 

O Kashi Kintara — 

Ne'er let thy fragrance 

From my life depart, 

Unfold thy petals 

Ever on my heart. 

Oh my dear loved one 

Soon thy lord to be. 

O Hara San. I love thee true. 



Chorus — 



ising Sun. 



Now is the wedding feast begun. 

With joy in the Land of the Rising bun. 

We wish you all good things of earth. 

And hope you'll always have gladness and mirth. 

Curtain 



J. F. & B. 4300 



PS 63^ 






Vi" 



LIBRftRY OF CONGRESS 





016 102 974 9 ^ 



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pH8.5 



